Kula Shaker has long been known for lead singer Crispian Mills’ penchant for traditional Indian music and culture. Their music has often reflected this with its use of instruments including sitar and tamboura, producing a mixture of eastern sounds meeting western 50s and 60s rock guitar sounds. Their most famous tunes, ‘Tattva’ and ‘Govinda’, are two such examples.
Wormslayer contains no shortage of that tried and true sound of eastern psychedelia. But this time around, it appears the band have been indulging in multiple other retro styles of sound. “Lucky Number” starts things off with a small bit of relaxed vibe sitar before bursting into a solid Britpop-style romp that recalls Don’t Believe the Truth-era Oasis and other bands of that time and ilk. The tune produces the interesting effect of being upbeat and in your face, at the same time, giving off a hypnotic quality.
“Good Money” keeps the record rolling along at a proper pace while bringing sounds of early 70s American-style funk into the mix. There are also elements of late 80s “Madchester” style dance vibes that would make Happy Mondays proud as the track chugs along with an aura of hedonism. The track is among a few on the album that make good use of a gospel-tinged female background vocal.
Perhaps the most anomalous track on the record is “Little Darling” The elegiac, lullaby sound gives a nod to Ray Manzarek-style keyboards and Jim Morrison vocal inflexions that culminate into a dramatic mid-tune breakdown with a firm exit. The tune sounds not so much like a Doors imitation as it does a channelling of their style, where Kula Shaker makes those elements their own.
There are a number of tracks on this record that take steps to reach for the sky with a big, often spacey sound. “Broke as Folk” and “The Winged Boy” both exude the soundscapes of Meddle- era Pink Floyd, the former displaying a chorus that wouldn’t be out of place in the Broadway play, Godspell, and the latter sounding like a return voyage to earth for someone who has just spent a long period of time in space.
“Shaunie” is the preceding companion piece to the aforementioned “The Winged Boy” which takes on a concept style sound which could fit well in a rock opera such as The Who’s Tommy. There are multiple styles of music in this one song, which feels like a voyage one usually takes over the course of an entire album. The title track, “Wormslayer”, goes even deeper into prog/new age concept album territory while still retaining a dose of good old-fashioned rock guitar.
“Dust Beneath Our Feet” rounds out the album in a 60s style that recalls sociopolitical songs of that time period, such as “For What It’s Worth”. It’s a calming ending to a record, which takes the listener on a trip to many otherworldly places and sounds.